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    The Queen's Caprice: Stories
    The Queen's Caprice: Stories
    The Queen's Caprice: Stories
    Ebook87 pages2 hours

    The Queen's Caprice: Stories

    By Jean Echenoz

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    Seven short stories by the Prix Goncourt winner—“the most distinctive voice of his generation . . . master magician of the contemporary French novel” (The Washington Post).
     
    France’s preeminent fiction writer, Jean Echenoz is celebrated for his ability to craft stories with such precision that readers are caught off guard by the intense emotion and imagination just beneath the placid surface of his writing. As Gary Indiana put it in his essay “Conjuror of St. Germain”, “Echenoz risks everything in his fiction, gambling on the prodigious blandishments of his voice to lure his readers into a maze of improbabilities and preposterous happenings.”
     
    The Queen’s Caprice—seven stories available in English for the first time—reveals Echenoz at the height of his talents, taking readers on a journey across radically different landscapes. The title story explores a tiny corner of the French countryside; “Nelson” offers a brilliant miniaturist portrait of the hero of the Battle of Trafalgar; “In Babylon” sketches the ancient city of Mesopotamia, based on trace descriptions from Herodotus; and other stories visit the forests of England, the Luxembourg Gardens in Paris, Tampa Bay, and the interior of a submarine. Amid the thrill and allure of this voyage of words, “again and again we pause to savor the richness of Echenoz’s startling, crystalline observations” (Lydia Davis).
     
    “[A] terrific sense of humor tinged with existential mischief.” —L’Express
    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateAug 24, 2010
    ISBN9781620970720
    The Queen's Caprice: Stories
    Author

    Jean Echenoz

    Jean Echenoz (Orange, 1948) ha publicado en Anagrama trece novelas: El meridiano de Greenwich (Premio Fénéon), Cherokee (Premio Médicis), La aventura malaya, Lago (Premio Europa), Nosotros tres, Rubias peligrosas (Premio Novembre), Me voy (Premio Goncourt), Al piano, Ravel (premios Aristeion y Mauriac), Correr, Relámpagos, 14 y Enviada especial, así como el volumen de relatos Capricho de la reina. En 1988 recibió el Premio Gutenberg como «la mayor esperanza de las letras francesas». Su carrera posterior confirmó los pronósticos, y con Me voy consiguió un triunfo arrollador. Ravel también fue muy aplaudido: «No es ninguna novela histórica. Mucho menos una biografía. Y ahí radica el interés de este espléndido libro que consigue dar a los géneros literarios un nuevo alcance» (Jacinta Cremades, El Mundo). Correr ha sido su libro más leído: «Hipnótica. Ha descrito la vida de Zátopek como la de un héroe trágico del siglo XX» (Miquel Molina, La Vanguardia); «Nos reencontramos con la ya clásica voz narrativa de Echenoz, irónica, divertidísima, y tan cercana que a ratos parece oral... Está escribiendo mejor que nunca» (Nadal Suau, El Mundo). Relámpagos «devuelve a la vida al genial inventor de la radio, los rayos X, el mando a distancia y el mismísimo internet» (Laura Fernández, El Mundo). La acogida de 14 fue deslumbrante: «Una obra maestra de noventa páginas» (Tino Pertierra, La Nueva España). Capricho de la reina, por su parte, «es una caja de siete bombones: prueben uno y acabarán en un santiamén con la caja entera» (Javier Aparicio Maydeu, El País), y en Enviada especial destaca «el ritmo y la gracia de la prosa, una mezcla cada vez más afinada de jovialidad y soltura» (Graziela Speranza, Télam).

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      Book preview

      The Queen's Caprice - Jean Echenoz

      NELSON

      WINTER 1802, MANOR HOUSE in the English countryside, Admiral Nelson is coming to dinner. The other guests hurry over as soon as he appears in the drawing room among the candelabra, wall hangings, copper- and brassware, ancestral portraits, floral paintings, flowers. Although still battle-worn from the engagement at Copenhagen,¹ he is admired; he does look tired, they reflect, but my he’s handsome think the ladies. Tired, of course, and rightly so, after all he’s been through.

      Already—so awkward for a sailor—there’d been that affliction he had experienced as a thirteen-year-old seaman upon first joining a warship, the third-rate HMS Raisonnable. He had thought it would pass but no, he had never ceased to suffer terribly, day after day, throughout his thirty years at sea, from seasickness.

      So they fuss over him, this man in an armchair near the large window overlooking some ingeniously informal gardens bordered by underbrush and backed by a wall of trees. Brandishing a tray of quivering glasses, a footman leans toward Nelson, who plucks one of them with a languid hand. Nelson is a small, thin man, affable, youthful in appearance, very handsome indeed but perhaps a trifle pale. And though he smiles like an actor playing Admiral Nelson, he seems quite fragile, friable, on the verge of fracturing into pieces.

      A slender form wearing white stockings, steel-buckled shoes, white waistcoat and knee-breeches under a blue frock coat, of which the left pocket bulges with what seems like a handful of shillings and the left breast glitters with the Order of the Bath. Nelson’s eyes sparkle as well but each with a different luster, the right one less brightly than the other. And if his hand hesitates in picking up his glass, the problem is that having contracted malaria in the Indies about twenty-five years earlier, while serving on the frigate HMS Seahorse, he has been plagued ever since by recurrent fevers, headaches, polyneuritis, and the attendant tremors.

      Since the conversation in the drawing room concerns the Treaty of Amiens, the admiral’s attention is drawn to a delicate point regarding the evacuation of the island of Elba; he is handed a newspaper that addresses the matter. Nelson places the page to his left, at an angle, and seems able to read it only in this manner, sideways—for another problem is that during the bombardment of Calvi in Corsica, while he was in command of the sixty-four-gun HMS Agamemnon, the impact of a round shot showered his face with stone shards that cost him the vision in his right eye.²

      Everyone sits down to dinner and even though small portions have been precut for the admiral, he displays deft skill in plying his knife and fork with his one hand—for yet another problem is that while his flagship HMS Theseus lay off Santa Cruz de Tenerife, where Nelson attempted to seize the port city so as to relieve enemy ships of their gold bullion, he was hit by a musket ball that, fracturing his humerus in several places, deprived him of the use of his promptly amputated right arm.

      Left left-handed, the admiral had therefore to relearn how to write and how to eat with utensils at the table—although he does resort daily to opium to relieve the pain in his phantom limb—and he acquits himself handsomely: the dinner proceeds without a hitch. Upon observing, however, that twilight is coming on, that candlesticks will soon be carried in, Nelson now rises abruptly between two courses, requests somewhat stiffly that the company please excuse him for a few minutes, and withdraws. He leaves the dining room, passes through antechambers and sitting rooms, then goes outside to the garden while the guests look at one another and frown.

      Thus one-eyed, one-armed, and feverish, the admiral finds himself among the flower beds and clumps of shrubs before going off on his own toward the woods, incidentally passing a garden shed where he borrows a full watering can. He advances into the fading daylight; he loves the contemplation of countryside, woods, and forests. He could almost live there but, rather anxious to return to sea, he prefers to visit other people’s homes to perform the following operation.

      At the edge of the wood, Nelson paces off the distance to the first trees: measuring, he selects various spots about twenty yards apart and marks each of them with a pebble. Kneeling at the first place, he begins digging a hole two to three inches deep—not so easy with only one hand, but the admiral is handy with his. The job done, he feels around in his pocket to pull out not the imagined handful of shillings but a dozen acorns, placing one at the bottom of this hole he then fills in again, carefully tamping down the earth he next waters just enough, he thinks (a touch too much, actually), after which Nelson repeats this operation as many times as his supply of acorns allows.

      For he takes the very long view of things: he is retimbering and never passes up an opportunity, when away from the open sea on dry land, to sow the latter to ensure on the former, for future generations, adequate naval traffic. He has set his heart on planting trees whose trunks will serve to build the future royal fleet. From these acorns he buries will spring the masts, hulls, decks and ’tweendecks of every manner of vessel destined for commerce or the transportation of men—but warships of all kinds above all: ships of the line, corvettes, armored vessels, frigates, and destroyers that will sail the world’s oceans long after he is gone, for the greater glory of the empire.

      Yet the stout oaks of Suffolk serve not only to build ships: kegs and casks are also made from them—barrels that are carried aboard ships, moreover, and which can be of goodly service. In that vein, at Trafalgar, after the French sailor Guillemard³ draws a bead on Nelson pacing the deck of the HMS Victory, and once the musket ball enters the admiral’s body through the left shoulder, fracturing the acromion plus the second and third ribs, traversing the lung and slicing through a branch of the pulmonary artery before shattering his spine, everyone will wonder what to do with his corpse. Then they will recall that the admiral had desired, instead of being tossed overboard as dead sailors usually are,

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